It doesn’t take much to be intrigued by the works of Mark St. Germain. His Becoming Dr. Ruth was acclaimed at Theater J several years ago, while The Happiest Man on Earth and Scott and Hem in the Garden of Allah both hit their strides at previous Contemporary American Theater Festivals. His Magdalene tackles history as remembered, perceived, and experienced by two biblical figures, Apostle Peter and Mary Magdalene. Germain provides backstory, reflection, and possible intention to these iconic figures as they explore and evolve to become totally different characters from who we expect them to be.
Peter’s entrance to Mary’s humble dwelling is loud with incessant knocking then pounding on her door. She finally lets him enter to stop the ruckus with an if-looks-could-kill “how dare you” demeanor. She had been summarily dismissed from the cadre of Jesus’ followers, and now Peter has the audacity to approach her for resolution and solace of some kind? Mary isn’t having it, and the two of them are off to the races recalling their encounters with Jesus and what the interactions meant along the way.
First of all, Mary (finally) has a voice, and she vehemently dispels the whole prostitute thing. From her description, one can see how convenient it could be to slap a label on someone when it could possibly even have been a different person or a conflation of other “Marys” that stuck with and defined her over time. The two recount miracle after miracle, describing what happened, but from their separate points of view. The versions sound totally different when they’re filled in with the backstory of who said and saw what, as they consider fascinating aspects of religion versus faith.
Peter retorts that he is the ultimate right-hand man with Jesus, who specifically proclaimed him as the “Rock” on which Christ will build his church, the Christian Kingdom. Mary punctures Peter’s inflated sense of himself, reminding him of his lethargy in the Garden of Gethsemane and Peter’s own persistent denial of Christ when needed most. “Rock” nothing, maybe more like blockhead, she implies. Oh yes, it is on, baby.
The bantering comes to a head when Peter reveals his urgency to see her. He’s seeking her alliance in dealing with Paul (previously known as Saul), who has proclaimed himself an apostle and is preaching the gospel to mega-numbers of followers for Christ. Mary again has the upper hand in noting that Paul’s more inclusive ministry includes women. She also reinforces the special closeness she had with Jesus along the journey and recounts her stance directly beneath the cross looking up at the horror of the crucifixion.
The casting works beautifully with Julian Elijah Martinez’s solid rendition of Peter, worn from the struggles of staying alive while adjusting to an evolving take on the Gospel that underpins his life. Sam Morales’ Mary is valiant in finally having her say in a culture that denies and shuns her humanity. Director Elena Araoz keeps the text flowing with dramatic appeal and wonderment of “What if…?” Germain’s closing moments imbue Mary with mystical powers that imply her own miraculous connections to an energy source. Enhanced by Nathan Leigh’s sound and Harold F. Burgess II’s lighting, the scene indicates that despite being unseen and unheard, she and women across the world through millennia of ancient and modern times have and will always be a force to be reckoned with.
Running Time: 90 minutes with no intermission.
Magdalene plays through August 3, 2025, presented by the Contemporary American Theater Festival performing at the Marinoff Theater, 62 West Campus Drive, on the campus of Shepherd University, Shepherdstown WV, in repertory with four other CATF plays. Times, dates, and ticketing information may be found on the CATF website or by calling the CATF box office at 681-240-2283.
Magdalene
Written by Mark St. Germain
Directed by Elena Araoz
CAST
Sam Morales* as Mary
Julian Elijah Martinez* as Peter
PRODUCTION TEAM
Scenic Design: David M. Barber**
Costume Design: Christopher Vergara**
Lighting Design: Harold F. Burgess II**
Sound Design: Nathan Leigh**
Stage Manager: Lori M. Doyle*
Casting: Pat McCorkle LTD.
Fight Director: Cara Rawlings
*Actors’ Equity Association
**United Scenic Artists
SEE ALSO:
Contemporary American Theater Festival announces full 2025 lineup (news story, March 31, 2025)